Paderewski, Ignacy Jan (EN)

Paderewski Ignacy Jan, *6 November 1860 Kuryłówka in Podole, †29 June 1941 New York, Polish pianist, teacher and politician. Paderewski’s parents, Poliksena née Nowicki (†1860) and Jan (†1894), were musical, his father played the violin as an amateur. In 1873–78, Paderewski was a student of the Music Institute in Warsaw (piano class of J. Janotha, J. Śliwiński and H. Koman), and then a piano teacher there (1878–81, 1882–83). He also gave concerts in the country as a pianist or accompanied the violinist W. Górski. In 1880, Paderewski married Antonina Korsakówna, who died (18 October 1880) in childbirth, leaving behind their son Alfred (†1901). Paderewski intended to be a composer, so in 1882 and 1884, he studied for six months in Berlin with F. Kiel and H. Urban. In January 1883, his first concert as a composer took place in Berlin and the second one in April 1885 in Warsaw. Paderewski’s works, dedicated to, among others, famous artists and performed by them (e.g. A. Jesipowa), were published mainly by the Bote und Bock company in Berlin, starting from Op. 4. Paderewski was one of the first to become interested in highlander music, staying in Zakopane in the summer of 1883 and 1884 (this is how Tatra Album Op. 12 was created). Thanks to H. Modrzejewska, with whom Paderewski performed in Krakow in October 1884, he was able to go to Vienna to study piano with T. Leszetycki (1884–85 and 1887/88); he also taught harmony and counterpoint at the Strasbourg Conservatory (1885–86). In December 1887, he performed successfully in Vienna with the singer Marie van Zandt (the concert with P. Lucca, which he mentioned in his Pamiętniki, see Lit., took place in 1888).

The first recital in a series of many performances by Paderewski in France took place on 3 March 1888 at the Erard Hall in Paris. This initiated his European and, with time, world career as a pianist, which lasted over 50 years. Its important stages included, among others, London (9 May 1890) and New York (17 November 1891); from then on, the artist appeared in the United States 19 times on multi-month tours (until 1939), travelling with several people in his own saloon-carriage equipped with, among others, a silent keyboard. His concert tours covered not only Europe and the United States but also South Africa, Australia, New Zealand and Tasmania. He was successful everywhere and made a fortune; he often allocated large sums for artistic, educational, social and national purposes; in 1896 in the United States, he established a foundation for young composers, and in 1897 a competition for Polish composers and writers. Pianism, composing, and then also political activity were intertwined in his life. At the peak of his career, Paderewski composed, among others, Polish Fantasy Op. 19, pieces Op. 21–23 (and the opera and symphony without opus numbers), which have been performed many times by the best European and American ensembles and famous conductors. This intensified the interest in Paderewski as a pianist, and at the same time favoured the promotion of his compositions on a scale unknown in the history of Polish music (except for Chopin). In 1899, Paderewski married Helena née Rosen (primo voto Górska), his confidant and friend, with whom he lived in the villa Riond Bosson near Morges in Switzerland. In 1910, Paderewski participated as the founder in the unveiling of the Grunwald Monument in Krakow, at the same time becoming the spiritual leader of his compatriots who came from all the partitions and from overseas. In the fall of 1910, he spoke during the celebration of the 100^th anniversary of Chopin’s birth and the 1^st Congress of Polish Musicians in Lviv. In 1913, he performed, among others, in Vevey during the music days of C. Saint-Saëns, with whom he gave concerts together.

After the outbreak of World War I, Paderewski, together with H. Sienkiewicz and others, headed the General Committee for Aid to War Victims in Poland (founded in Switzerland in 1915); at that time, he focused on charitable, patriotic and political work, setting himself the goal of regaining independence for Poland. In 1917, he presented W. Wilson, the President of the United States, with a memorial regarding Poland, included in Wilson’s peace message. After arriving in Poland, together with the British peace mission, on 16 January 1919, Paderewski took up the position of President of the Council of Ministers and Minister of Foreign Affairs. On 28 June 1919, together with R. Dmowski, he signed the peace treaty in Versailles on behalf of Poland. After his resignation (December 1919), he was Poland’s delegate to international conferences and congresses (he resigned from this position in 1921). In November 1922, Paderewski triumphantly returned to concert stages, recorded albums, and also appeared in the film Sonata księżycowa (directed by L. Mendes, 1936). In 1924, he came to Poland for the last time. In 1928–32, he also gave lessons, and among Paderewski’s few students, there were also later winners of Chopin competitions (H. Sztompka, W. Małcużyński). In the fall of 1929, Paderewski made a will in which he established a bequest to the Jagiellonian University. In 1936, Paderewski and other politicians established the so-called Front Morges, a political group opposing the Sanation government. In 1937, Paderewski became the editor-in-chief of F. Chopin’s Complete Works (together with J. Turczyński and L. Bronarski). In September 1940, he went to the United States, where he organised help for his compatriots in the country and prepared the visit of General W. Sikorski and S. Mikołajczyk to the President of the United States. He spoke publicly for the last time a week before his death to veterans of the Polish Army from 1918. He was buried at Arlington Cemetery in Washington, where in 1963 President J.F. Kennedy funded a commemorative plaque; in 1992, Paderewski’s ashes were placed in the crypt of St. John’s Cathedral in Warsaw.

Decorations: Order of the White Eagle (1921), Grand Cross with Star of the Order of Polonia Restituta (1923), Grand Cross of the Order of the British Empire and the title of Sir (1925), Commander of the Legion of Honor (1929), Grand Ribbon of the Order of Leopold (Belgium, 1924), Grand Cross of the Order of “Saints Maurice e Lazarus” (Italy, 1925), Order of the Romanian Crown “Prin Noi In Sine” (1889), Cross of the Albert Order “Albertus Animosus” (1895), Order of Virtuti Militari (posthumous, 1941) and others.

Honorary doctorates: Jan Kazimierz University, Lviv (1912), Yale University, New Haven (1917), Jagiellonian University (1919), Oxford University (1920), Columbia University, New York (1922), Southern California University, Los Angeles (1923 ), Adam Mickiewicz University, Poznań (1924), University of Glasgow (1925), University of Cambridge (1926), University of Warsaw (1926), University of Lausanne (1932), New York University (1933); membership of the American Academy of Art and Literature (1931); numerous honorary urban citizenships, medals, awards, memberships of honorary societies and institutions.

Paderewski’s name is often associated primarily with pianism, and less often with his compositional work. Indeed, Paderewski was recognised by his contemporaries as the greatest pianist since Liszt and as a representative of T. Leschetizky’s performance school. From the master, he took over, among others, a way of producing a massive sound (the so-called “Leschetizky stroke”), a hand arrangement that ensures “singing,” legato phrasing as well as technical perfection and brilliant virtuosity. Paderewski did not fully identify with this method, because he preferred the proper interpretation of music and understanding the composer’s intentions to pure virtuosity; he accurately and convincingly conveyed to the listeners the structure of the songs and their internal logic. An important element of Paderewski’s performance was tempo rubato, to which he devoted his only theoretical work. As a renowned Chopinist, he also passed on his “romantic” performance model to generations of pianists. Paderewski confessed that he understood his playing as a service to the listeners and he subordinated his repertoire to their tastes. It included 9 concerts with orchestra, a few chamber works, and mainly solo works (over 200) by leading romantics, especially Chopin; they often constituted the entire recital program. Paderewski also eagerly played works of the classics (cf. M. Perkowska Diariusz koncertowy Ignacego Jana Paderewskiego, 1990); he declared that he did not understand contemporary music (except Debussy). The artist’s repertoire also included his own compositions (Piano Concerto, Polish Fantasy, Sonata Op. 21, variations), especially (for an encore) miniatures, with the popular Minuet in G major.

Paderewski’s success did not diminish with age, as it was intensified after 1922 by his political importance. Paderewski’s pianistic career was of a mass nature (thousands of listeners appeared in American halls at a time), far-reaching and long-lasting; this was influenced not only by Paderewski’s pianistic qualities, but also by his personality, the artist’s charisma, which was described by reviewers and other listeners of his concerts (B. Shaw, K. Makuszyński, T. Szeligowski), and his attractive appearance and elegance. Paderewski’s legendary financial success is recorded in the Guinness Book of Records. Paderewski’s performing art, apart from countless reviews, is currently only evidenced by various recordings: on piano (by Welte-Mignon from 1905, Duo-Art 1921–29) and CDs, horn-acoustic (from 1911–24) and microphone-electric (from 1926–38, made by the companies: Gramophon Comp., Victor); and the film Sonata księżycowa, in which a fragment of the pianist’s recital was recorded based on a trivial plot (see Za kulisami wielkiej kariery…, 1994). However, these are technically imperfect recordings and too late compared to the best years of Paderewski’s career (1888–90). Paderewski was often caricatured, and his portraits were painted by, among others, L.F. Schutzenberger, E. Burne-Jones, L. Alma-Tadema, L. Argyll, Ch. Giron, Ch.E. Chambers, J. and T. Styka; Paderewski’s bust was sculpted by, among others: F.E. Onslow, F. Black, A. Gilbert, M. Hoffman, N. Tregor and A. Karny.

Among Paderewski’s compositional works, the most widely known is the Minuet in G major Op. 14 in Mozart’s style, even though Paderewski left a small but relatively diverse legacy: an opera, a symphony, 3 cycles of piano variations (Op. 11, 16 no. 3, 23), 2 sonatas for violin and piano, solo songs (Op. 7, 18, 22), also pieces for piano and orchestra (Op. 17, 19). However, he wrote mainly solo piano miniatures, especially dance ones (Op. 2, 5, 9, 14), with programmatic titles (Op. 8, 10, 15). Currently, knowledge about Paderewski’s work is greater, because among Paderewski’s autographs discovered in 1980–90, there are previously unknown works from the early years of his activity, e.g. Overture and Suite for orchestra, 2 violin pieces, as well as variations and a fugue for string quartet, exercises for wind instruments and choir and piano compositions: Suite in E flat major, Old Suite Op. 3, Mazurka in G major from Op. 9; also 2 songs: Lily of the Valley from Op. 7 and Dans la forêt. Paderewski also left unfinished works (cantata), partially destroyed (violin concerto), as well as sketches and drafts of songs to words by Polish poets, which proves his plans and creative ambitions, abandoned due to his unexpected success as a pianist. The composer’s preserved autographs and letters (especially to his father and H. Górska, unpublished so far) were used both to identify the age of the mentioned compositions and to provide more details about already known works (M. Perkowska Geneza…, 2001); in lists of compositions, Op. 3, Op. 1 and others were often mistaken or omitted. Zwei Klavierstücke Op. 1 is not an “early and mature” composition (as was sometimes believed), but was published after Op. 13 (changed version of the Minuet from the Suite in E flat major 1879 with added Prelude). In turn, the Violin Sonata Op. 13 was mistakenly identified with the “Allegro from the sonata” (first performed in 1882 and 1883), which was part of the unfinished piano sonata from 1884. Paderewski recomposed the Allegro when writing the first version of the Piano Concerto, and the Scherzo from the same piano sonata was published as Intermezzo in C minor. Chronological complications also concerned, among others, Op. 14–16, to which Paderewski included pieces that were originally parts of the piano suite from 1885–87.

The date of his pianistic debut (1888) marks two main periods of Paderewski’s work; in the first one, most of the compositions were written (up to Op. 17); in the second, there are more mature works, the most significant in Paderewski’s output (from Op. 18). There are also 4 sub-periods: 1876–82, 1882–84, 1884–87, 1888–1909. After the Symphony in B minor (first performance 1909), Paderewski only wrote a commemorative song Hej, Orle Biały (1917). Paderewski was not looking for an innovative musical language but wanted to improve his craft following the example of his great predecessors, especially Chopin. Following his views and musical preferences, Paderewski preferred musical forms and genres typical of the Romantic period (e.g. miniatures), tonal and melodic means (major-minor, modalisms, “folk” themes), and type of instrumentation. For the first time, Paderewski departed from classical patterns in the Sonata Op. 13 (nota bene, it is devoid of “homely” topics); in his last works, which he valued the most (Op. 21–23), he referred to modernism (especially in the songs of Op. 22, similar to those of C. Debussy). In the opera Manru, he drew on Wagner’s creative experiences, although Manru also reveals, apart from his individual features, the influence of French, Italian and Polish composers (A. Konieczna Manru in: Warsztat kompozytorski, wykonawstwo i koncepcje polityczne Ignacego Jana Paderewskiego, 1991).

Paderewski skilfully mastered the compositional technique in sonatas, variations and fugues; he used polyphonization and archaization, both in piano miniatures (already in Elegy, Op. 2, 3 and in Mazurka Op. 9 No. 4 – double counterpoint) and large forms (Symphony); his piano miniatures are characterised by simplicity and unpretentiousness (Op. 8, 10, 16). Sometimes (especially Op. 14, book 1 “à l’antique”) Paderewski used stylization (Minuet in the style of Mozart, Sarabande in a baroque atmosphere, Caprice à la Scarlatti). For the first time in the history of Polish music, he used the dances and songs of Podhale (Op. 12), but with a harmonic arrangement of the piano part in the major-minor tonality. Melody comes to the fore in Paderewski’s music; early piano miniatures – unlike the Sonata Op. 21 and Variations and Fugue Op. 23 – are relatively easy to implement. Chopin’s influence is visible in piano miniatures, especially those referring to Polish dances, but Paderewski’s works are only a salon stylisation of folklore and, apart from rhythm, have a loose connection with it. Paderewski’s early compositions (Elegy, Pieśni wędrowca Op. 8, Polish Dances Op. 5, 9) met with the approval of Polish critics (J. Kleczyński, W. Górski, W. Żeleński), but were sometimes considered too bold, downright innovative; Paderewski was therefore criticised for “abuse of dissonances,” the use of too “broad” chords and deviations from classes and forms (Sonata Op. 13 for violin and piano). Later works were perceived mainly through the prism of Paderewski’s performance art and were widely praised, but, for example, Manru’s libretto was criticised; Chybiński and Jachimecki considered Sonata Op. 21 and Variations Op. 23 valuable works in Polish music; the Symphony was sharply criticised by K. Szymanowski.

The popularity and scale of interest in Paderewski’s work during his lifetime is evidenced by the high rank of performers and the significant number of exhibitions of Manru, performances of the Symphony and other works, numerous recordings, many editions, reprints, arrangements, transcriptions made by other musicians with an unknown (probably significant) number of editions; records were, of course, achieved by the Minuet Op. 14 No. 1 (approx. 80 editions, 65 transcriptions); introductory theme of Fantasy Op. 19 became the signal for radio and TV broadcasts. Paderewski’s works, which have entered the repertoire of Polish and foreign performers, include large orchestral forms, such as Polish Fantasy and Piano Concerto, and piano pieces (Wanderer’s Songs, Polish Dances, May Album, Concert Humoresques, Miscellanea, Sonata Op. 21 and Variations Op. 11), as well as songs (including to words by Asnyk, Op. 7, and to words by Mickiewicz, Op. 18) and Sonata in A minor Op. 13 for violin and piano. Currently, K. Radziwonowicz, W. Malicki, A. Wodnicki and others specialise in performances of Paderewski’s works; since 1961, the Paderewski Piano Competition has been organised in Bydgoszcz. After World War II, Paderewski’s activities and works were ignored for political reasons; it was only in the 1970s that works by musicologists and historians began to appear. Since 1974, the Institute of Musicology of the Jagiellonian University in Krakow has operated the Centre for the Documentation of Paderewski’s Life and Works, founded on the initiative of E. Dziębowska, which houses the Paderewski library, conducts musicological works (including Diariusz, Katalog tematyczny) and edits the Dzieła wszystkie [Complete Works]. The first Paderewski museum was established in Chicago (1941), currently, there are also museums in Warsaw and on Paderewski’s estates: Kąśna near Ciężkowice, Morges (Switzerland), Paso Robles (United States), where annual festivals of Paderewski’s music are organised. The Parliament proclaimed 2001 as the Year of Paderewski, and many conferences, competitions and music festivals were held.

Literature: Documentation – M. Perkowska, W. Pigła Katalog rękopisów Ignacego Jana Paderewskiego, “Muzyka” 1988 No. 3; M. Perkowska Diariusz koncertowy Ignacego Jana Paderewskiego, Kraków 1990; Ignacy Jan Paderewski Pamiętniki, written down by M. Lawton, London 1939, Polish ed. transl. W. Lisowska, T. Mogilnicka, Kraków 1961; Ignacy Jan Paderewski Pamiętniki 1912–1932, written down by M. Lawton, transl., foreword and ed. A. Piber, Kraków 1992; A. Baumgartner La vérité sur le prétendu drame Paderewski. Documents et témoignages, Geneva 1949; Za kulisami wielkiej kariery. Paderewski w dziennikach i listach Sylwina i Anieli Strakaczów. 1936–1937, foreword and ed. M. Perkowska-Waszek, comments M. Perkowska-Waszek and A. Strakacz-Appleton, Kraków 1994; A. Piber Archiwum Ignacego Jana Paderewskiego, “Archeion” XXXIX, 1963; M. Perkowska Ośrodek Dokumentacji Życia i Twórczości Paderewskiego, in: Muzykologia krakowska 1911–1986, ed. E. Dziębowska, Kraków 1987; Archiwum polityczne Ignacego Paderewskiego, 4 volumes, vol. 1: 1890–1918 and vol. 2: 1919–21, ed. W. Stankiewicz, A. Piber, Wrocław 1973, 1974, vol. 3: 1921–34, ed. H. Janowska and Cz. Madajczyk and vol. 4: 1935–40, ed. T. Jędruszczak and A. Leinwand, Wrocław 1974; Ignacy Jan Paderewski. Myśli o Polsce i Polonii, ed. M.M. Drozdowski and A. Piber, Paris 1992 (contains Paderewski’s writings, speeches and letters); Nieznany list Ignacego Jana Paderewskiego, “Muzyka” 1927 No. 10 (from 1887 to B & B); K. Winowicz Ignacy Jan Paderewski w listach do Adolfa Chybińskiego, “Muzyka” 1976 No. 4; O. Martynenko Nieznana korespondencja Ignacego Jana Paderewskiego. Listy do Stanisława Niewiadomskiego, “Ruch Muzyczny” 1994 No. 20 (9 letters by Paderewski and 7 by his wife from 1885–1910); W. Dulęba, Z. Sokołowska Ignacy Jan Paderewski, mała kronika życia pianisty i kompozytora, Kraków 1960, 2^nd ed. revised Paderewski, Kraków 1976, English ed., Kraków 1979 (album); B. Weber Paderewski, Kraków 1991 (album); H.L. Anderson Ignace Jan Paderewski – Discography, “British Institute of Recorded Sound Bulletin” 1958 No. 10 (London); J. Kański Płytowe dokumenty sztuki Ignacego Paderewskiego (w 30. rocznicę zgonu wielkiego artysty), “Ruch Muzyczny” 1971 No. 14; J. Weber Paderewski i jego płyty. Dyskografia, in: Ignacy Jan Paderewski 1860–1941. Katalog wystawy w 125-lecie urodzin, Warsaw 1985; J.W. Hoskins Ignacy Jan Paderewski 1860–1941. A Biographical Sketch and a Selective List of Reading Materials, Washington 1984 (materials from Library of Congress); contemporary comments – H. Modjeska Memories and Impressions, New York 1910, Polish ed. H. Modrzejewska Wspomnienia i wrażenia, Kraków 1957; A. de Noailles Le livre de ma vie, Paris 1932; S. Szpinalski Paderewski – nauczyciel, “Muzyka Polska” 1935 book 4; Z. Dygat Wspomnienia o Paderewskim, no place of publication 1941; K. Makuszyński Dole i niedole Ludwika Solskiego. Koncert Paderewskiego, no place and date of publication [Scotland 1945]; A. Strakacz Paderewski as I knew him, transl. from Polish by H. Chybowska, New Brunswick 1949; biographies, monographs – H.T. Finck Paderewski and his Art, New York 1895; A. Nossig Ignacy Jan Paderewski, Leipzig 1901; H. Opieński Ignacy Jan Paderewski, Warsaw 1928, new extended ed., Kraków 1960; C.J.M. Phillips Paderewski. The Story of a Modern Immortal, New York 1933; R. Landau Ignacy Paderewski, Musician and Statesman, London 1934, Polish transl. J.B. Rychliński, Warsaw 1935; J. Orłowski Ignacy Jan Paderewski i odbudowa Polski, 2 vol., Chicago 1939–40; W. Kędra Ignacy Paderewski, Warsaw 1948; M.M. Drozdowski Ignacy Jan Paderewski, zarys biografii politycznej, Warsaw 1979, revised and extended 3^rd ed. 1986, English transl. S. Tarnowski Ignacy Jan Paderewski. A Political Biography in Outline, Warsaw 1981; W. Fuchss Paderewski. Reflets de sa vie, Geneva 1981, 2^nd ed. 1999 (includes, among others, several letters from A. Jesipowa to Paderewski); A. Piber Droga do sławy. Ignacy Paderewski w latach 1860–1902, Warsaw 1982 (contains several letters from Paderewski to W. Górski and A. Rutkowski); A. Zamoyski Paderewski, New York 1982, Polish ed. Warsaw 1992; H. Lisiak Paderewski. Od Kuryłówki po Arlington, Poznań 1992; H. Przybylski Paderewski. Między muzyką a polityką, Katowice 1992; R. Wapiński Ignacy Paderewski, Wrocław 1999; biographical contributions – H. Opieński Morges. Uczniowie Ignacego Paderewskiego, “Muzyka” 1931 No. 10; S. Szpinalski Od Kuryłówki po Arlington, “Ruch Muzyczny” 1946 No. 24; S. Giron Le drame Paderewski, Geneva 1949, S. Giron Tajemnica testamentu Paderewskiego, Polish transl. M. Olędzka, R. Opęchowska, E. Reis, Kraków 1996 (refutations see A. Baumgartner La vérité sur le prétendu drame Paderewski, Geneva 1949, Za kulisami wielkiej kariery. Paderewski w dziennikach i listach Sylwina i Anieli Strakaczów, ed. M. Perkowska-Waszek, Kraków 1994, Kraków – Ignacemu Janowi Paderewskiemu w 90. rocznicę odsłonięcia Pomnika Grunwaldzkiego i 140. rocznicę urodzin fundatora, Kraków 2000); A. Grzymała-Siedlecki Fundator pomnika grunwaldzkiego, in: Niepospolici ludzie w dniu swoim powszednim, Kraków 1961, 4^th 1974; A. Urbańczyk Pomnik Grunwaldzki w Krakowie, Kraków 1974; A. Urbańczyk Pomnik Grunwaldzki w Krakowie 1910–1976, Kraków 1976; C. Gordon-Smith Paderewski na Florydzie w 1941, “Ruch Muzyczny” 1985 No. 19; M.M. Drozdowski Paderewski w latach II wojny światowej, “Więź” 1986 No. 6; F. Pulit Śladami Paderewskiego, Tarnów 1993; F. Pulit Dom w Ojczyźnie, Tarnów 2001; Ignacy Jan Paderewski, artysta i polityk (collaborative work), CD-ROM, Warsaw 2001; pianism – F. Sobieniowski George Bernard Shaw o muzyce i muzykach, “Muzyka” 1926 No. 1; E. Szczawińska Paderewski w oczach XIX-wiecznej krytyki warszawskiej, “Ruch Muzyczny” 1961 No. 12; M. Perkowska Początki i rozkwit kariery pianistycznej Paderewskiego, “Muzyka” 1977 No. 3; I. Poniatowska Oddziaływanie metody Teodora Leszetyckiego na pianistykę Ignacego Jana Paderewskiego, in: Historia i interpretacja muzyki: z badań nad muzyką od XVII do XIX wieku, ed. D. Ambrożewicz, A. Sitarz, Kraków 1993; M. Perkowska Les débuts parisiens d’Ignace Jan Paderewski et quelques événements de sa vie artistique, “Musica Iagellonica” vol. 1, ed. Z.M. Szweykowski, Kraków 1995; K. Dąbrowski Wielki Polak w Szwajcarii. Programy i głosy prasy o koncertach Ignacego Jana Paderewskiego 1889–1938, Warsaw 2001; work – H. Windakiewicz Stosunek dzieł Paderewskiego do muzyki ludowej. Studium analityczne, “Echo Muzyczne, Teatralne i Artystyczne” 1902 No. 956, 958, 959, 961; H. Opieński Ignacy Jan Paderewski. Najnowsze utwory – Op. 21, 22, 23, “Czas” 1907 No. 205; A. Chybiński Paderewski jako kompozytor utworów fortepianowych, “Przegląd Muzyczny” 1910 No. 20; H. Opieński Symfonia h-moll Ignacego Jana Paderewskiego, Warsaw 1913; M. Perkowska 12 pieśni do słów Catulla Mendèsa, in: Muzyka polska a modernizm, ed. J. Ilnicka, Kraków 1981; M. Perkowska Wczesne utwory Ignacego Jana Paderewskiego w świetle źródeł prasowych, “Muzyka” 1981 No. 3/4; W. Jędrzejczak Twórczość fortepianowa Ignacego Jana Paderewskiego, «Muzyka Fortepianowa» IV, in: «Prace Specjalne Akademii Muzycznej w Gdańsku», 1981; M. Perkowska Nieznane kompozycje Ignacego Jana Paderewskiego w świetle badań źródłowych, “Muzyka” 1988 No. 3; D. Quasnik „Manru” et le démon humain, Paris 1991; F. Wesołowski Pieśni na głos z fortepianem Ignacego Jana Paderewskiego, «Zeszyty Naukowe Akademii Muzycznej w Łodzi» No. 22, 1991; L. Kozubek Opera „Manru” Ignacego Jana Paderewskiego, Katowice 1993; I. Poniatowska Individuelle, nationale und universelle Elemente im Schaffen von Ignacy Jan Paderewski in: Narodné, individualné a universalné prvky v hudbe, materials from conference in Bratislava 1996, ed. J. Lengova, Bańska Bystrzyca 1998; M. Perkowska-Waszek Geneza i historia utworów Paderewskiego w świetle nieznanych źródeł, doctoral dissertation UJ, 2001; special publications – Warsztat kompozytorski, wykonawstwo i koncepcje polityczne Ignacego Jana Paderewskiego, materials from a scientific session, Kraków 3–6 May 1991, ed. W. Marchwica, A. Sitarz, Kraków 1991 (contains: A. Strakacz-Appleton Wspomnienie o Paderewskim, M.M. Drozdowski Reakcje świata i Polski na śmierć Paderewskiego, J. Stankiewicz Poglądy estetyczne Paderewskiego, R. Szczepański Paderewski jako wydawca dzieł Chopina, J. Bauman-Szulakowska Synteza uniwersalizmu i stylu narodowego w polskiej kameralistyce II połowy XIX wieku, G. Hetka Mickiewicz i Asnyk w pieśniach Paderewskiego, Niewiadomskiego, Żeleńskiego, A. Konieczna „Manru” – kilka uwag o stylu i dramaturgii, D. Maciejewicz Romantyczna realizacja kanonu allegra sonatowego w trzech kompozycjach Paderewskiego, J. Paja-Stach Wariacje fortepianowe Paderewskiego, A. Piber Recepcja „Manru” w Ameryce, T. Przybylski Zapomniane kwartety smyczkowe kompozytorów polskich II połowy XIX wieku: Paderewskiego, Pankiewicza, Rutkowskiego, M. Woźna-Stankiewicz Poezja Mendèsa w pieśniach Paderewskiego i kompozytorów francuskich); Kraków – Ignacemu Janowi Paderewskiemu w 90. rocznicę odsłonięcia pomnika Grunwaldzkiego i 140. rocznicę urodzin fundatora, part 1: M. Perkowska-Waszek Artysta i mąż stanu, part 2: I. Fischer Obchody rocznicy Grunwaldzkiej i odsłonięcie pomnika Władysława Jagiełły, P. Boroń Historia pomnika Grunwaldzkiego, Kraków 2000 (album ed.); Ignacy Jan Paderewski. Twórca w świecie kultury, ed. T. Broniewicz, H. Kostrzewska, J. Tatarska, Poznań 2001; “Annales Paderewski”, Morges 1977–.